From Godfathers to Apostles: a profile of Robert Duvall

Legendary actor Robert Duvall takes his third stab at directing — after a1975 documentary “We’re Not the Jet Set” and 1983’s “Angelo My Love” —with “The Apostle,” a small film about a Pentecostal preacher who, afterassaulting his estranged wife’s boyfriend, flees to a small Louisiana townand forms his own congregation with the help of a retired preacher. Duvall(who also scripted and stars) creates a balanced portrait of a religiousman who, while serving as a beacon of inspiration to his followers, isnonetheless haunted by his own demons. The depiction steers clear of thefanaticism that Hollywood often brings to such characters, instead paintinghim with respect and humanity.

“He has weaknesses. Pros and cons. He’s not a fanatic,” says Duvall, “Ijust think it’s part of his background, that’s his way.” This labor of loveeffort is a crowning achievement for the veteran actor of such Americanclassics as “M*A*S*H,” “The Godfathers I & II,” “Network,” “Apocalypse Now“and “Tender Mercies.” Himself a religious man, Duvall says of theexperience, “I think the movie will stay with me more than maybe any othermovie I’ve done.”

Duvall was inspired to write the modest $5 million project thirteen yearsago. “I was passing through Arkansas years ago, I went to one of theselittle churches. It was a woman preacher and another guy. I had never seenanything like that. Right away I said, ‘boy someday I’d like to play one ofthese characters.'” He adds that the practice of preaching is “a trueAmerican artform. It’s kind of theatrical in a good way.”

It was, however, a long haul getting this story to the big screen. “Nobodyreally wanted to talk about it or get behind it. Agencies don’t want to getbehind it because they don’t make any money. So, therefore, you’re reallyon your own.”

After countless pitches to studios and twelve years of basically hearing“thanks but no thanks,” Duvall realized that the only way his dream projectwas going to happen was by coughing up the funding himself. “I put it onthe back burner hoping it wouldn’t happen because I was afraid of it. Butthen I knew I had to do it because it was something I was committed to.Each year I would say ‘it’s now or never.’ And then last spring it wasreally now or never and my CPA said I think you have enough money to backthis. My CPA is such a cautious guy and he greenlit the movie. Not myagency, not any studio, he did.”

Any trepidation Duvall had about taking on the project soon dissolved onceproduction started. “Once we started, all those fears kind of melted away.We had seven weeks. I wanted twelve to do it but we had seven weeks. Wefinished early. Three of those weeks were five day work weeks. We finishedeveryday around five or six. I never felt tired. It was a very harmoniousexperience. We edited at my farm in Virginia.”

The risky venture seems to have paid off. He has thus far won Best Actorhonors from the Los Angeles Film Critics Association and the NationalSociety of Film Critics, and his work, as well as the film itself, is beinguniversally hailed, some of whom have called this his finest performance todate. Quite a compliment considering his unforgettable work in “TheGodfather I & II,” “The Great Santini” and “Tender Mercies,” for which hewon an Oscar.

Speaking of Oscars, nomination announcements are right around the cornerand speculation is strong that Duvall may be a contender for the gold thisyear. “It would be nice,” admits Duvall, but he remains reticentnonetheless and cites his Emmy nomination for the 1989 televisionminiseries “Lonesome Dove” as an example of his expectations being letdown. “If I ever got an award, it should have been for that. So you nevercan tell. I’ve seen people win awards for terrific work. I’ve seen them winawards and you say, how did they win that?”

While Duvall will remain first and foremost an actor, or “hired hand” as hecalls it, he definitely wants to direct more in the future, even if ittakes another 12 years to kick start his next project. “I don’t think itwill take as long this time. Even if I have to put up my own money again.”

Among the directors whose work Duvall admires are Ulu Grosbard (whodirected him in “True Confessions“), British helmer Kenneth Loach(“Ladybird, Ladybird“), Nikita Mikhalkov (“Close to Eden“) Emir Kusturica(“Underground“) and Lasse Halstrom (who directed him in the Julia Robertsvehicle “Something to Talk About“) who Duvall particularly hails, “You nameme one director in the history of Hollywood that ever did a film with thesensitivity and the beauty of “My Life as a Dog.” Beautiful film. I neversaw a film out of this country like that. He really goes for behavior.”

Duvall is also praiseworthy of vets Francis Ford Coppola and Robert Altman,the latter of whom directed him in PolyGram’s current release “TheGingerbread Man.” “He’s great to work with. I hadn’t worked with him inyears.” So how was it different working with Altman this time around ascompared to their collaboration on “M*A*S*H” back in 1970? “Not a lotdifferent. We’re all getting older and Bob’s gotten heavier and he has weakknees and he walks slower, but it’s still the same nice aura on the set.He’s an interesting guy. It’s fun working with Altman.”

While Coppola is one director Duvall holds in high regard, he nonethelessopted not to return for the third installment of “The Godfather” in 1990.“The only reason, I bet my bottom dollar, that they were doing that moviewas for money. Why wait fifteen years? I said look, if you’re going to payPacino twice what you pay me that’s OK, but don’t offer me three times lessthan what you’re going to pay him. So we said forget it.”

Duvall will also be seen later this year in “Deep Impact” about a cometthat’s headed towards the earth, and “A Civil Action,” which pairs him withhis “Phenomenon” costar John Travolta. In the meantime, directing-wise, hehas a couple of coals in the fire which he is optimistic about, “I alwaysfelt like a late bloomer. My career is better now than ever.”